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师永刚

 
 
 

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符号与欲望的意识形态  

2008-06-10 15:24:14|  分类: 默认分类 |  标签: |举报 |字号 订阅

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autobiography. The inner desireexpressed in symbols points directly to females’ ideology, andexists commonly in current metropolis with multi-cultures andincreasing personal value merging together, or in pioneers’implication of ideology. She depicts the lust of this generation ofwomen, the hint and the dark place of spirit, which haveindependent mood correlating with era. They feel lost but they arestrong in mind, with direction in certain part of heart but withoutorientation. Where are they and who are they? Are they thinking orindulging in? Are they a gregarious generation or a part abandonedby this era? Yan’s works make appreciators think of thesequestions. And maybe what Yan is looking for is just herself.Yan is transmitting the image to womens ideology with a kind ofsymbol painting. Her works can directly touch people’s heart andtell more persons that she has found the way to womans concealedworld, among which, there are also her own experience and feel
aleshe paints.Selected from Shi YongGang “Ideology of Symbol and Desire“符号与欲望的意识形态 - 师永刚 - 师永刚  在玫此文为 乙妍的画展所作。
 
 
aleshe paints.Selected from Shi YongGang “Ideology of Symbol and Desire“

乙妍的画散发着一种可怕的欲望。她的欲望是以别样色彩描绘出来的,那种独特而浓郁的浅粉嫣紫展现出的绝望和期望的内心的暗示散布画布,到处皆是.而乙妍笔下这种的芭比式的"玫瑰女孩"分明又传达出当代女性深沉的精神状态.她们有着经典的外在姿容,有着美丽动人掩盖下伤痛.她会看着你伤感,也会看着你展现出她独特的符号,让人过目难忘,也无法不被触动与遐想.

 

符号因数的运用在作为女性身份的乙妍身上,表现得非常明确,比如眼睛、色彩、玫瑰.她非常精到的以这种提炼过的契合内涵的符号来绘写自己的意识形态以及自我表现和自我审视中的感觉,她作品里独特的用色以及眼神更象是乙妍本人的自传,这种形象表征传达的内心的欲望直抵女性的意识形态,存在于当今多元并置但日趋体现自身价值的都市,或者先锋派者的意识形态的暗示里。她描绘出了这一代女性的情欲,以及暗示,以及精神的暗处,还有那些空依的与时代相关的情绪,她们低落,坚定,方向感存在于内心某处,苦无座标,她们在那里,她们是谁?她们在思考还是在沉溺?她们是这个时代合群的一代还是被抛弃的一部分?乙妍的画,让人思考到这些。而乙妍试图寻找的也许不过是她自己.

,which is illustrated with a special color style. Her works arefilled with this unique and strong color in light pink and brightpurple, spreading the desperation and expectation of the innerheart everywhere covering the canvas. The baby-doll styled “RoseGirl” of Yan’s works, however, delivers the contemporary womensdeep state of mind. They have classical appearance, beautiful andmoving faces concealing their pains. They look at yousentimentally. Meanwhile, they look like peculiar symbols that makeyou never forget and cannot help being touched and reverie.Yan’s application of symbols and submultiples like eyes, colorsand roses in herself, under the identity as a female, reflects avery clear idea. She is very precise and penetrating to paint andwrite ones own ideology, self-expression_r and feeling whileexamining closely oneself, with these abstract symbols inaccordance with the content. The unique color use and expression_r ineyes looks like working for her

 

乙妍用一种符号化的绘画传达了对于女性的意识形态的形象表述,她的画有着直指人心的效果,她能告诉更多的人,她找到了方法,一种接近今时女子隐秘世界的通道。在这些作品中,也隐藏着她对于自己的经历的感觉和揭示,而那些佛学思想的部分在情欲中的形式感,那些虚无的哲学意味的字句不过是她的一种庶挡,只是她想看到诗歌呈现的迷离形式。她自己找了许多仪式,并象征性的表达在自己的画布上。她从金刚经中,或者道德经中,看到自己所要的精神画面。并使之成为自己输出灵感的重要依据。希奇的是,乙妍有着离世与隐藏的对于现实的厌弃,这使她试图构建一个自己发现的女性世界,最后仪式出现了:她的画与诗接近,她的芭比是纯粹的中国女孩子,她的色彩与笔触带着自由的叹息与最实际的情欲。生活在他的笔下如此艳丽,如此感性,她想背叛这个情欲,却找到了离世与现世,过去与现在的欲望的位置。乙妍是独特的,如同她绘出的女子的情欲的意识形态。

 

ings.And those Buddhism thoughts existed in the desire, the meaninglesswords with sense of philosophy, are all her shelters. What she onlyneeds is to reveal the misted form of poems. She has found a lot ofceremonies for oneself, and delivered the symbolic expression_rs onthe canvas. She saw the spirit image from Diamond Sutra orDaodejing, and she made it become important basis of outputting theinspiration by herself. The weird thing is that, she has the hiddendetesting and rejecting to reality, which resulted in her attemptto establish a women’s world found by herself, and the ceremonyappeared finally. Her paintings are similar to her poems; her babydoll is a traditional Chinese girl; her color and stroke reflectsthe free sigh and most realistic lust. The life is too beautifuland it only makes her to betray, to find her previous life andcurrent one as well, and the conjunction of the lust of thesetimes. She is so unique, just like the lust ideology of the fem

                             摘自—师永刚《符号与欲望的意识形态》

 

      

aleshe paints.Selected from Shi YongGang “Ideology of Symbol and Desire“

 

         

The picture of Yan YI is distributing a kind of terrible desire,which is illustrated with a special color style. Her works arefilled with this unique and strong color in light pink and brightpurple, spreading the desperation and expectation of the innerheart everywhere covering the canvas. The baby-doll styled “RoseGirl” of Yan’s works, however, delivers the contemporary women'sdeep state of mind. They have classical appearance, beautiful andmoving faces concealing their pains. They look at yousentimentally. Meanwhile, they look like peculiar symbols that makeyou never forget and cannot help being touched and reverie.

autobiography. The inner desireexpressed in symbols points directly to females’ ideology, andexists commonly in current metropolis with multi-cultures andincreasing personal value merging together, or in pioneers’implication of ideology. She depicts the lust of this generation ofwomen, the hint and the dark place of spirit, which haveindependent mood correlating with era. They feel lost but they arestrong in mind, with direction in certain part of heart but withoutorientation. Where are they and who are they? Are they thinking orindulging in? Are they a gregarious generation or a part abandonedby this era? Yan’s works make appreciators think of thesequestions. And maybe what Yan is looking for is just herself.Yan is transmitting the image to womens ideology with a kind ofsymbol painting. Her works can directly touch people’s heart andtell more persons that she has found the way to womans concealedworld, among which, there are also her own experience and feel

 

Yan’s application of symbols and submultiples like eyes, colorsand roses in herself, under the identity as a female, reflects avery clear idea. She is very precise and penetrating to paint andwrite one's own ideology, self-expression_r and feeling whileexamining closely oneself, with these abstract symbols inaccordance with the content. The unique color use and expression_rin eyes looks like working for her autobiography. The inner desireexpressed in symbols points directly to females’ ideology, andexists commonly in current metropolis with multi-cultures andincreasing personal value merging together, or in pioneers’implication of ideology. She depicts the lust of this generation ofwomen, the hint and the dark place of spirit, which haveindependent mood correlating with era. They feel lost but they arestrong in mind, with direction in certain part of heart but withoutorientation. Where are they and who are they? Are they thinking orindulging in? Are they a gregarious generation or a part abandonedby this era? Yan’s works make appreciators think of thesequestions. And maybe what Yan is looking for is just herself.

 

,which is illustrated with a special color style. Her works arefilled with this unique and strong color in light pink and brightpurple, spreading the desperation and expectation of the innerheart everywhere covering the canvas. The baby-doll styled “RoseGirl” of Yan’s works, however, delivers the contemporary womensdeep state of mind. They have classical appearance, beautiful andmoving faces concealing their pains. They look at yousentimentally. Meanwhile, they look like peculiar symbols that makeyou never forget and cannot help being touched and reverie.Yan’s application of symbols and submultiples like eyes, colorsand roses in herself, under the identity as a female, reflects avery clear idea. She is very precise and penetrating to paint andwrite ones own ideology, self-expression_r and feeling whileexamining closely oneself, with these abstract symbols inaccordance with the content. The unique color use and expression_r ineyes looks like working for her

Yan is transmitting the image to women's ideology with a kind ofsymbol painting. Her works can directly touch people’s heart andtell more persons that she has found the way to woman's concealedworld, among which, there are also her own experience and feelings.And those Buddhism thoughts existed in the desire, the meaninglesswords with sense of philosophy, are all her shelters. What she onlyneeds is to reveal the misted form of poems. She has found a lot ofceremonies for oneself, and delivered the symbolic expression_rs onthe canvas. She saw the spirit image from Diamond Sutra orDaodejing, and she made it become important basis of outputting theinspiration by herself. The weird thing is that, she has the hiddendetesting and rejecting to reality, which resulted in her attemptto establish a women’s world found by herself, and the ceremonyappeared finally. Her paintings are similar to her poems; her babydoll is a traditional Chinese girl; her color and stroke reflectsthe free sigh and most realistic lust. The life is too beautifuland it only makes her to betray, to find her previous life andcurrent one as well, and the conjunction of the lust of thesetimes. She is so unique, just like the lust ideology of the femaleshe paints.

 

Selected from Shi YongGang “Ideology of Symbol and Desire“      

在玫此文为乙妍的画展所作。乙妍的画散发着一种可怕的欲望。她的欲望是以别样色彩描绘出来的,那种独特而浓郁的浅粉嫣紫展现出的绝望和期望的内心的暗示散布画布,到处皆是.而乙妍笔下这种的芭比式的玫瑰女孩分明又传达出当代女性深沉的精神状态.她们有着经典的外在姿容,有着美丽动人掩盖下伤痛.她会看着你伤感,也会看着你展现出她独特的符号,让人过目难忘,也无法不被触动与遐想.符号因数的运用在作为女性身份的乙妍身上,表现得非常明确,比如眼睛、色彩、玫瑰.她非常精到的以这种提炼过的契合内涵的符号来绘写自己的意识形态以及自我表现和自我审视中的感觉,她作品里独特的用色以及眼神更象是乙妍本人的自传,这种形象表征传达的内心的欲望直抵女性的意识形态,存在于当今多元并置但日趋体现自身价值的都市,或者先锋派者的意识形态的暗示里。她描绘出了这一代女性的情欲,以及暗示,以及精神的暗处,还有那些空依的与时代相关的情绪,她们低落,坚定,方向感存在于内心某处,苦无座标,她们在那里,她们是谁?她们在思考还是在沉溺?她们是这个时代合群的一代还是被抛弃的一部分?乙妍的画,让人思考到这些。而乙妍试图寻找的也许不过是她自己.乙妍用一种符号化的绘画传达了对于女性的意识形态的形象表述,她的画有着直指人心的效果,她能告诉更多的人,她找到了方法,一种接近今时女子隐秘世界的通道。在这些作品中,也隐藏着她对于自己的经历的感觉和揭示,而那些佛学思想的部分在情欲中的形式感,那些虚无的哲学意味的字句不过是她的一种庶挡,只是她想看到诗歌呈现的迷离形式。她自己找了许多仪式,并象征性的表达在自己的画布上。她从金刚经中,或者道德经中,看到自己所要的精神画面。并使之成为自己输出灵感的重要依据。希奇的是,乙妍有着离世与隐藏的对于现实的厌弃,这使她试图构建一个自己发现的女性世界,最后仪式出现了:她的画与诗接近,她的芭比是纯粹的中国女孩子,她的色彩与笔触带着自由的叹息与最实际的情欲。生活在他的笔下如此艳丽,如此感性,她想背叛这个情欲,却找到了离世与现世,过去与现在的欲望的位置。乙妍是独特的,如同她绘出的女子的情欲的意识形态。摘自—师永刚《符号与欲望的意识形态》The picture of Yan YI is distributing a kind of terrible desire

 

 

 

aleshe paints.Selected from Shi YongGang “Ideology of Symbol and Desire“

 

 

 

ings.And those Buddhism thoughts existed in the desire, the meaninglesswords with sense of philosophy, are all her shelters. What she onlyneeds is to reveal the misted form of poems. She has found a lot ofceremonies for oneself, and delivered the symbolic expression_rs onthe canvas. She saw the spirit image from Diamond Sutra orDaodejing, and she made it become important basis of outputting theinspiration by herself. The weird thing is that, she has the hiddendetesting and rejecting to reality, which resulted in her attemptto establish a women’s world found by herself, and the ceremonyappeared finally. Her paintings are similar to her poems; her babydoll is a traditional Chinese girl; her color and stroke reflectsthe free sigh and most realistic lust. The life is too beautifuland it only makes her to betray, to find her previous life andcurrent one as well, and the conjunction of the lust of thesetimes. She is so unique, just like the lust ideology of the fem

 

 

 

autobiography. The inner desireexpressed in symbols points directly to females’ ideology, andexists commonly in current metropolis with multi-cultures andincreasing personal value merging together, or in pioneers’implication of ideology. She depicts the lust of this generation ofwomen, the hint and the dark place of spirit, which haveindependent mood correlating with era. They feel lost but they arestrong in mind, with direction in certain part of heart but withoutorientation. Where are they and who are they? Are they thinking orindulging in? Are they a gregarious generation or a part abandonedby this era? Yan’s works make appreciators think of thesequestions. And maybe what Yan is looking for is just herself.Yan is transmitting the image to womens ideology with a kind ofsymbol painting. Her works can directly touch people’s heart andtell more persons that she has found the way to womans concealedworld, among which, there are also her own experience and feel

 

 

 

在玫此文为乙妍的画展所作。乙妍的画散发着一种可怕的欲望。她的欲望是以别样色彩描绘出来的,那种独特而浓郁的浅粉嫣紫展现出的绝望和期望的内心的暗示散布画布,到处皆是.而乙妍笔下这种的芭比式的玫瑰女孩分明又传达出当代女性深沉的精神状态.她们有着经典的外在姿容,有着美丽动人掩盖下伤痛.她会看着你伤感,也会看着你展现出她独特的符号,让人过目难忘,也无法不被触动与遐想.符号因数的运用在作为女性身份的乙妍身上,表现得非常明确,比如眼睛、色彩、玫瑰.她非常精到的以这种提炼过的契合内涵的符号来绘写自己的意识形态以及自我表现和自我审视中的感觉,她作品里独特的用色以及眼神更象是乙妍本人的自传,这种形象表征传达的内心的欲望直抵女性的意识形态,存在于当今多元并置但日趋体现自身价值的都市,或者先锋派者的意识形态的暗示里。她描绘出了这一代女性的情欲,以及暗示,以及精神的暗处,还有那些空依的与时代相关的情绪,她们低落,坚定,方向感存在于内心某处,苦无座标,她们在那里,她们是谁?她们在思考还是在沉溺?她们是这个时代合群的一代还是被抛弃的一部分?乙妍的画,让人思考到这些。而乙妍试图寻找的也许不过是她自己.乙妍用一种符号化的绘画传达了对于女性的意识形态的形象表述,她的画有着直指人心的效果,她能告诉更多的人,她找到了方法,一种接近今时女子隐秘世界的通道。在这些作品中,也隐藏着她对于自己的经历的感觉和揭示,而那些佛学思想的部分在情欲中的形式感,那些虚无的哲学意味的字句不过是她的一种庶挡,只是她想看到诗歌呈现的迷离形式。她自己找了许多仪式,并象征性的表达在自己的画布上。她从金刚经中,或者道德经中,看到自己所要的精神画面。并使之成为自己输出灵感的重要依据。希奇的是,乙妍有着离世与隐藏的对于现实的厌弃,这使她试图构建一个自己发现的女性世界,最后仪式出现了:她的画与诗接近,她的芭比是纯粹的中国女孩子,她的色彩与笔触带着自由的叹息与最实际的情欲。生活在他的笔下如此艳丽,如此感性,她想背叛这个情欲,却找到了离世与现世,过去与现在的欲望的位置。乙妍是独特的,如同她绘出的女子的情欲的意识形态。摘自—师永刚《符号与欲望的意识形态》The picture of Yan YI is distributing a kind of terrible desire

 

 

 

在玫此文为乙妍的画展所作。乙妍的画散发着一种可怕的欲望。她的欲望是以别样色彩描绘出来的,那种独特而浓郁的浅粉嫣紫展现出的绝望和期望的内心的暗示散布画布,到处皆是.而乙妍笔下这种的芭比式的玫瑰女孩分明又传达出当代女性深沉的精神状态.她们有着经典的外在姿容,有着美丽动人掩盖下伤痛.她会看着你伤感,也会看着你展现出她独特的符号,让人过目难忘,也无法不被触动与遐想.符号因数的运用在作为女性身份的乙妍身上,表现得非常明确,比如眼睛、色彩、玫瑰.她非常精到的以这种提炼过的契合内涵的符号来绘写自己的意识形态以及自我表现和自我审视中的感觉,她作品里独特的用色以及眼神更象是乙妍本人的自传,这种形象表征传达的内心的欲望直抵女性的意识形态,存在于当今多元并置但日趋体现自身价值的都市,或者先锋派者的意识形态的暗示里。她描绘出了这一代女性的情欲,以及暗示,以及精神的暗处,还有那些空依的与时代相关的情绪,她们低落,坚定,方向感存在于内心某处,苦无座标,她们在那里,她们是谁?她们在思考还是在沉溺?她们是这个时代合群的一代还是被抛弃的一部分?乙妍的画,让人思考到这些。而乙妍试图寻找的也许不过是她自己.乙妍用一种符号化的绘画传达了对于女性的意识形态的形象表述,她的画有着直指人心的效果,她能告诉更多的人,她找到了方法,一种接近今时女子隐秘世界的通道。在这些作品中,也隐藏着她对于自己的经历的感觉和揭示,而那些佛学思想的部分在情欲中的形式感,那些虚无的哲学意味的字句不过是她的一种庶挡,只是她想看到诗歌呈现的迷离形式。她自己找了许多仪式,并象征性的表达在自己的画布上。她从金刚经中,或者道德经中,看到自己所要的精神画面。并使之成为自己输出灵感的重要依据。希奇的是,乙妍有着离世与隐藏的对于现实的厌弃,这使她试图构建一个自己发现的女性世界,最后仪式出现了:她的画与诗接近,她的芭比是纯粹的中国女孩子,她的色彩与笔触带着自由的叹息与最实际的情欲。生活在他的笔下如此艳丽,如此感性,她想背叛这个情欲,却找到了离世与现世,过去与现在的欲望的位置。乙妍是独特的,如同她绘出的女子的情欲的意识形态。摘自—师永刚《符号与欲望的意识形态》The picture of Yan YI is distributing a kind of terrible desire

 

 

 

autobiography. The inner desireexpressed in symbols points directly to females’ ideology, andexists commonly in current metropolis with multi-cultures andincreasing personal value merging together, or in pioneers’implication of ideology. She depicts the lust of this generation ofwomen, the hint and the dark place of spirit, which haveindependent mood correlating with era. They feel lost but they arestrong in mind, with direction in certain part of heart but withoutorientation. Where are they and who are they? Are they thinking orindulging in? Are they a gregarious generation or a part abandonedby this era? Yan’s works make appreciators think of thesequestions. And maybe what Yan is looking for is just herself.Yan is transmitting the image to womens ideology with a kind ofsymbol painting. Her works can directly touch people’s heart andtell more persons that she has found the way to womans concealedworld, among which, there are also her own experience and feel

 

 

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